Ana Paula Cordeiro says of her work, "From an artistic-alienated background, I first had contact with Visual Arts through photography.

However, after two solo shows and professional assisting experience as a photographer I felt the need of developing a set of skills for translating visual experiences into practical objects.

I started as work/study at The Center for Book Arts in 2002, was an intern at the Women's Studio Workshop in 2003 and was awarded a Stein Scholarship Residency in 2005 back at The Center for Book Arts, which followed intense studio production, assistant-ships and continuous workshops both as a teacher and as a student.

I am nowadays a full-time bookmaker, my time being divided between collaborations, commissions and my own artistic practice, which has layered photography with letterpress printing. I’ve been part of various group shows nationwide, and since 2008 the work I create and produce has been collected privately and institutionally."

Andrea Waxler says of this series, 'Yellow Things', The camera hangs around my neck as my eyes scan wide, searching back and forth, up and down. What is it that we notice that precipitates stopping, lifting of the camera and pressing the shutter? Is it the expansive, lovely landscape that includes a glorious sky and shining water? Or the busy city street throbbing with interesting people and activity?

The images in this collection show a different perspective. While roaming large with an intent of capturing the more encompassing scene, the eye stops at the small, bright yellow item in the midst of it all. In some instances the object belongs there and centers the rest of the composition. In other instances the object is an anomaly and totally out of place. In either case, the subject of the image shifts from what the artist intended to capture to something more intimate and esoteric."

Ms. Waxler started her career in the areas of painting, sculpting and pottery. She was the founder and Director of the Art Studio at New Hampshire College in Manchester, New Hampshire.

Graduating from University of Pittsburgh with a BA in Fine Art, interest in photography led to coursework at New Hampshire Institute of Art and New England School of Photography. Additional coursework has been completed at the Griffin Museum of Photography and the School for The Digital Arts.

Waxler's works have been shown, awarded and sold at multiple juried gallery exhibits including the Photographic Resource Center at Boston University, The Griffin Museum of Photography, PhotoPlace Gallery, LA Photo Curator Gallery, The Cape Cod Art Association, The Darkroom Gallery, The Moose Hill Gallery, Gallery25N and the Plymouth Center for the Arts. She is a Russell Gallery Juried Artist (the gallery is located in Plymouth, MA) an Exhibiting Member of the Vermont Center for Photography in Brattleboro, VT and a Juried Member of the New Hampshire Art Association. She was presented with the prestigious, International 10th Annual and 11th Annual Black and White Spider Awards Nominee for three of her images.

Additionally, her photos have been published in both print and online media in magazines such as "Chronicle of the Horse" and “Smokey Blue Mountain Literary and Arts Magazine”.

Her work embraces a visual esthetic that demonstrates energy and intensity, organic, abstract shapes and vibrant colors with a twist of humor and mystery.

Carole Glauber says of her work, "This submission theme became an interesting assignment for me since I do not tend to think in terms of story creation or routinely looking up close. So I started looking around my home, and came across these carved statues that I recall standing on a shelf in my parents’ den and now reside near a window in my living room.

They are of two men and a woman dressed as pious Jews in Eastern European shtetls before Hitler wiped them out. I began by just photographing them, and then arranged them, and kept getting closer per the assignment. At first all seemed ordinary, but wait, could there be a love triangle? The woman and the man with the beard carrying his prayer book are married but the woman loves the man wearing the vest. The husband is not happy. The man in the vest remains in the background as they walk away. Actually, no one is happy in such a scenario. Lucky for them they are wooden carvings. I will never see these statues in the same way as before I began this contemplation with my camera.

I am a photographer and photo-historian. I have earned a B.S.Ed. in History and a M.Ed., and am the recipient of research fellowships from the Winterthur Museum, Oregon Humanities, and the Peter E. Palmquist Memorial Fund for Historical Research and have received grants from the Portland Regional Arts and Culture Council, Northwest Women’s History Project and the National Coalition of Independent Scholars.

I am a 2017 Finalist in the Julia Margaret Cameron Awards for Women Photographers.

I taught History of Photography at a community college and for many years I traveled the state of Oregon speaking about early Oregon photographers as a Chautauqua Scholar for Oregon Humanities.

As a photographer and photo-historian I spend time creating photographs and studying photographs of the past, which of course influence my own image making.

My photographs are suffused with what I see and experience, but my style has remained much the same: to compose while making the photograph and have an honest vision. My photographs have appeared in many exhibition spaces including the Oregon Jewish Museum, Blue Sky Gallery, PH21 Gallery in Budapest, Deutser Gallery in Houston, Soho Photo Gallery in New York City, Rayko Photo Center in San Francisco, the Somerville Toy Camera Festival, the ASmith Gallery in Texas, and the Oregon Biennial at the Portland Art Museum. My Julia Margaret Cameron Finalist print will part of the exhibit at the ValidFoto Gallery in Barcelona this fall.

I am the author of the biography, Witch of Kodakery: The Photography of Myra Albert Wiggins 1869-1956. My other publications have introduced readers to 19th century photographers Lily White, Sarah Ladd, Ann Brigman, and Isabella Bird Bishop as well as reviews of many photography based books for Women in Photography International."

Initially my interest in painting introduced a desire in me to always have a camera by my side to work out elements of composition and design in order to interpret the world that surrounds me. Looking through a lens, I find I observe differently, more selectively.

I compose & recompose. With a photographer’s eye, I find that I perceive more abstractly… I see colors, lines, shapes, textures, light, and patterns in more detail.

For me, there is a strong contemplative, meditative component to photography. It is a medium that through the act seeing, you quiet your mind to consider not only what is before you, but also what you want to express, free from distractions from the outside world. From this deep immersion within, the beauty and complexity of the natural world is expressed.

Since moving to the high mountain desert in America’s West, I’ve felt a keen sense of place. With spring’s arrival, I get swept away by the awe inspiring new vegetation sprouting forth and the arrival of birds and animals. As painter Georgia O’Keeffe professed, “Nobody sees a flower really; it is so small. We haven’t the time, and to see takes time – like to have a friend takes time.” I take the time; I look closely; I see detail. In the sunlight and shadow, nature is my inspiration. I see abstract intricacies.

More than merely documenting images, I endeavor to convey the haunting, compelling mysteries of nature that surround me. I see Nature as the poetry of everyday life.

This Plumage series is celebrating one of the symbols of nature, of Native Americans, and of the American West: a feather.

Through the use of metaphor, my recent work concerns itself with the relationship of our delicately balanced Earth to our own cycles of life and mortality. These ideas are conveyed through portraying the complex beauty of nature while expressing its continual renewal. The cropping and composition in this series reflect my love of Abstract Expressionism and calligraphy."

US artist Carol Horigan has been passionate about art her entire life.
With undergraduate and graduate degrees in art, she worked for many years as a Professor Art teaching a variety of studio art and art history courses.

Countless enriching experiences have broadened her aesthetic. She worked on an archaeological dig in Belize; she took college students to Kenya, to Cambridge University, England, and to Mexico’s Yucatan. She studied batik in Java, weaving in Guatemala, and Mesoamerican art history at the University of Guanajuato, Mx. She has taken sabbaticals in Italy and Mexico.

She was awarded a Fulbright-Hayes fellowship to Argentina and another to India, an NEH grant to study Mayan art throughout Mesoamerica, and an NEA grant for work in Quintana Roo.

Personal travel has taken her to places with rich artistic traditions as diverse as China, Jordan, UAE, Morocco, Fiji, Turkey, Indonesia, Peru and Egypt to name a few. The diversity of nature and cultures encountered with her travels have had a profound influence on her work.

Even while teaching, she actively produced art and exhibited in more than 50 museum exhibitions. She is now a full time artist living in Santa Fe and invigorated by New Mexico’s high desert and the American West.

Dan Cook says of his work, "Creativity arises in conversation with constraints—the constraints enforced by the medium or media employed, by the long history of artistic attempts of those who have come before us and by the immediate circumstances of one’s life, attitude and self-imposed challenges.

A key constraint of photography is that it anchors one, however tenuously, to some version of the here- and-now....to some present moment that must be grappled with visually.

Photography, as I have experienced it, struggles with the tension between subject and form differently than other visually-oriented media to the extent that it lives off of some aspect of the world as given.

The streetscape, the varied and variable circumstances of light and shadow, the objects in the environment, among other things, all in some way have to be handled and taken into account. In this sense, I liken photography closer to sculpture than to painting.

My photography thrives on opportunism, on what the world presents to me, which must engage with the circumstances of the moment. The ability to craft a scene out of the flow of the everyday, to frame the minute as profound or the grand in miniature, to bring forth the play of line, shape, texture and color—these arise from the photographic eye in the midst of a pursuit."

Dan Cook is a resident of Philadelphia and a professor of Sociology and Childhood Studies at Rutgers University-Camden. A self-taught, amateur photographer, Cook teaches on, among other things, visual research methods and visual ways of knowing. He is a member of the Copley Society of Art, the Sketch Club of Philadelphia and Philadelphia Phot Arts.

Dan McCormack says of his work, "'Pinhole Camera Nudes in the Landscape', I use the extreme wide angle distortions of the round oatmeal box pinhole camera and the subtle digital colorization’s of B&W negatives to create a series of visceral images that probe the unconscious, stepping away from the literal reality. The juxtaposition of the model and the site triggers a response that I react to while colorizing. The resulting images range from portraits to to sensual visions."

Dan McCormack studied Photography from 1962-1967 at the Institute of Design, the New Bauhaus, at the Illinois Institute of Technology in Chicago where he studied with Aaron Siskind, Arthur Siegal, Wynn Bullock and Joe Jachna.

Next, he earned an MFA in Photography at the School of the Art Institute of Chicago from 1967 to 1970 having studied with Barbara Crane and Ken Josephson.

He began photographing the nude with Wendy, his wife while in graduate school. Then for over forty years he explored various techniques and processes while photographing the nude as a central theme.

In 1971, Dan co-founded the Mombaccus Art Center in Accord which received NYSCA grants for two years. The center offered classes in photography, ceramics, painting, drawing, house building and mime. The Mombaccus Art Center had local and national shows every month. Dan McCormack curated a show of photographer Judith Steinhauser.

From 1973 to 1975 Dan McCormack was a founding member of the Woodstock Artists Co-Operative and he had a solo show with the Co-op.

In 1975 Dan joined the Catskill Center for Photography and served as Vice President of the Board of Directors for ten years. During that term, he had a solo show at CCFP and he participated by hanging every show with another director for the first ten years. During his time with CCFP, Dan curated several shows, one with the work of Aaron Sisikind, and another of photographers who were teaching photography in a college and another of early digital imagery.

.In 1982, Dan McCormack won a NYSCA-CAPS Photography Fellowship with a series of infrared nude images made of Wendy. With that series, he produced a monograph, "BODY LIGHT-Passages in a Relationship" in 1989.

In 1988, Dan joined Level 3 Gallery, a Co-Operative Photography Gallery in Philadelphia as a founding member. He participated in monthly shows and he had a solo exhibition celebrating the publishing of his monograph, “BODY LIGHT”..

In 1988, Dan McCormack became the director of the Art Gallery of the Art Department at the Dobbs Ferry campus of Mercy Collegey. During his year he curated several shows including a solo show of photographer Will Faller and of painter Nancy Ostrovsky.
Dan McCormack has taught photography at Purdue University, Pratt Institute, SUNY New Paltz, Bard College, Mercy College, Ramapo College, Columbia-Green Community College, Somerset Community College, County College of Morris before coming to Marist College twenty-five years ago. He currently heads the Film Photography program at Marist College in Poughkeepsie, New York.

Dan McCormack began teaching an Advanced Seminar in Photography at the Mombaccus Art Center in 1971. The Seminar next moved to the Catskill Center for Photography for over ten years. In the mid 1980's Dan McCormack teamed up with Eric Lindbloom and they co-taught the Advanced Seminar in Poughkeepsie, next back at the Center for Photography in Woodstock, and then back again in Poughkeepsie at the Barrett Art Center. In 2015 Eric Lindbloon stepped down and Michael Sabilia assumed the co-leader with Dan McCormack.

In 1998 Dan began to work with pinhole camera photography. In 2009, he won the Ultimate Eye Foundation’s grant for Figurative Photography and had his work featured in an exhibition at the Peninsula Museum of Art in Belmont, CA.

In January 2010, Dan McCormack had a solo show at the Photography Center of the Capitol District in Troy, NY. He showed over fifty images from ten diverse series made from 1990 to 2010. In May 2013, Dan had a solo show at the Barrett Art Center in Poughkeepsie, NY. In this exhibit he showed 28 images from his “Nude at Home” series. Then in January 2016 he had a solo show of the “Nude at Home” series at the Beacon Artists Union in Beacon, NY and in May of 2016, Dan had another show with newer images of the “Nude at Home” series at the Arts Upstairs Gallery in Phoenicia, NY.

David Banta says of his work, "I started as a child with painting & drawing, and then moved into photography at sixteen with an East German Praktika camera.

My draw to photography was fueled by my father's Polaroid albums and by Life Magazine.

I acquired a degree in Arts and Media from William James College in 1974. After 5 years in the working world, I met with legendary photographer Arthur Siegel in Chicago.

After reviewing my portfolio, Siegel said "I don't believe in photography as therapy", and then admitted me to the Illinois Institute of Technology: Institute of Design in 1979.

There I studied under black & white photographer David Plowden. I worked as a weekly newspaper photographer and as a hospital photographer. I also studied under Magnum photographer Alex Webb at Maine Photographic Workshops.

I spent 18 years making a living from photography and twelve years driving big truck to pay off the debt! I am now doing what I love to do with a passion...sharing my personal vision through photography.

I have been shooting photographs since I was a boy. The camera as always been a wonderful ticket to travel to new places and into the lives of people whom I would never otherwise know…a reason to look, to see, to capture, once on film…now in digital imagery.

I have moved into the privileged position of shooting what I want to photograph, rather that being motivated primarily by monetary considerations. This has freed me, liberated me…it gives me great joy. My wife and I moved from the urban environment, the environment I photographed for many years to the country eleven years ago.

We live near the tiny town of Luther, Michigan, but our mailing address is Reed City…our hometown has become the backroads near our home, the tiny towns all around. Country folk are difficult to photograph…less accustomed to the intrusion of strangers. I spent a couple years getting to know an old gentleman who lived alone, in his 70’s. The old farmhouse he lived in all his life hadn’t changed since he was a child…it was exquisitely spartan.

When I finally arrived at his place with camera in hand, hoping to begin photograph, he said he was not interested. Case closed. But it is in this fascinating environment that I find myself spending my last days, documenting these country folks."RESUME:

Deanna Dikeman says of this series, 'Lot Line', "When I am driving down my street to get to my house, I pass my neighbor’s side yard and then I see the side of my yard, just before I turn into my driveway.

One summer day, while turning into my driveway, I noticed that the neighbor’s lawn had been mowed. Now the grass on our side was longer.

There was a clean line going down the middle of what had been a clear expanse of shaggy green grass. A week later, the reverse had happened: our yard had just been mowed and the cut expanse was flipped to the other side. The lawn-mowing was delineating the property line. This invisible, legal line of land ownership was suddenly visible. I began taking notice of other visible markers of these quite real, but invisible, lot lines.

In my project, Lot Line, I am looking at the spaces between houses. I am finding the visible markers such as fences, utility poles, and lawn-mowing lines that show the invisible property ownership lines."

Deanna Dikeman was born in Sioux City, Iowa, USA, in 1954. She has been an artist-photographer since 1985, when she left a corporate job to try a photography class. She has M.S. and B.S. degrees from Purdue University.

She photographs her family in Iowa and Nebraska in a body of work called Relative Moments. She has done a series of photographs of interior details of homes, Home Alone in the Middle of the Day. Her Wardrobe project includes photographs of old clothes in a thrift store and the Stephens College Historical Costume Collection. Other projects are Suburban Photographs, Lost Dog (posters of lost pets), Ballroom (ballroom dancers and their clothing in movement), and Lot Line (looking at the spaces between houses).

Her work is in the permanent collections of The Museum of Contemporary Photography, Chicago, Illinois; The Nelson-Atkins Museum, Kansas City, Missouri; The Center for Creative Photography, Tucson, Arizona; The Nerman Museum of Contemporary Art, Overland Park, Kansas; and the Daum Museum of Contemporary Art, Sedelia, Missouri.

In 2008, she was awarded the $50,000 United States Artists Booth Fellowship. She received the Aaron Siskind Foundation Individual Photographer’s Fellowship in 1996. Other honors include a 2006 Charlotte Street Foundation Fellowship in Kansas City, and the Art Omi International Artists Residency in Ghent, NY. She is represented by Haw Contemporary in Kansas City, Missouri.

Since 1988, Deanna has been included in over 112 group and two-person shows, and fourteen solo shows. Her photographs have been on billboards and outdoor displays as public art projects in Kansas City, Missouri; St. Louis Missouri; and Albany, New York. More recently, her work has been featured in online shows and blogs such as Slate Magazine’s Behold, and Lenscratch. Her self-published book, 27 Good-byes, received Honorable Mention in 2010 Photography Book Now.

Donna Cosentino says of her series, "'Home is the Mountain', There is a place on a mountain an hour from where I live now.

I drive with a lump in my throat each time my Jeep climbs its historic winding road. Palomar Mountain, home of the famous Observatory, has a few unique settlements that were begun in the 1800’s.

At 5,600 feet above sea level, one mile west of that winding road is Bailey Meadows. Bailey’s, a hidden area of forests and fields is a cool retreat for a few hardy nature-loving souls. And years ago it was my haven. My son was raised there for the tender first years of his life in a log house that I helped build. There is joy and sadness on that mountain for me. My heart aches every time I go there.

When I first came to the mountain, Newt and Doris Bailey were the king and queen of Baileys and held court every weekend on the wide porch of their old home. They would object to that title of course. They were generous, humorous and humble people. It was great fun to be in their presence. In 1947 Newt carved their initials on a hand-hewn bench. The story of their love is written there.

Newt and Doris are gone now. But their son, Brad, and his wife Terri continue the family legacy. Parties on the porch carry on. Terri keeps a garden with a gate that Brad made, and Brad repairs equipment in the old shop, its outer wall covered by signs his pop made. I am very thankful the Baileys are my good friends and allow me to wander with my cameras. Their land holds a rich mix of perfection and chaos, old and new, nature and man. I have photographed here for over thirty years and I am still finding fresh ways to see it.

Yes my heart aches every time I go there. Until I begin to photograph."

Donna first picked up a camera when she enrolled in a college photography class in 1971. While watching the magic of the print reveal itself in the developing tray her future became clear.

Since that time she has been fully engaged in the world of photography. Donna became a photojournalist for a mid-sized daily newspaper, created and managed photography workshops, directed the Photographer’s Gallery in Escondido, managed the photography competition at the San Diego County fair, and is now a tenured professor of Photography at Palomar College where she has taught for over twenty-eight years.

She is a member of several photographic organizations, has volunteered her time as juror and lecturer and was a long-time docent at the Museum of Photographic Arts in San Diego.

She works almost exclusively in black and white film and uses a 4x5 Zone VI field camera, a twin lens Rolleiflex, and a 35mm Nikon F3. She makes silver gelatin prints in her home darkroom and Polaroid transfers and pigment prints from Scala transparencies. Donna’s keen interest in photographic history and historic processes has brought her to a love for the warmth and richness of Salt Printing and the Platinum/Palladium process which she is currently exploring.

Teaching Experience:

Over Twenty five years teaching photography at the Community College level including classes in beginning, intermediate and advanced black and white, zone system, color theory and practice, magazine production, photojournalism, landscape theory and location image-making, digital imaging, alternative processes, and Portfolio Production. Now full time tenured faculty.

Selected Exhibitions:

2010 Still Photographers-Invitational group exhibition, at Hyde Art Gallery
2011 Palomar Mountain, Studio 7 @ Distinctions, Escondido, CA
2012 Sabbatical Project-Touching the Earth a series of 40x40 B&W images
of The Patriarch Tree in the Bristlecone Grove printed on Mulberry paper
2014 Ecosystems of San Diego County, Six Black and White Photographs of Palomar Mountain selected for this San Diego Natural History Museum group exhibition
2015 Size Matters Platinum print juried into show in San Diego at the Low Gallery
Continues to show new work in the Annual Faculty Art exhibit, Boehm Gallery and actively enters Juried exhibitions

Related Experience/Workshops/Special Interests:

•Created and managed for over 10 years Photographic Explorations, an on-location photography workshop business with destinations to Death Valley,
Cerro Gordo Ghost Town, California Central Coast, the Eastern Sierra, Palomar Mountain, and the Ancient Bristlecone Pines

•Initiated and directed The Photographer’s Gallery, a venue to expose regional photographic artists such as Peggy Jones, Lee Peterson, Leland Foerester and more •Coordinated the International Photography Competition at the San Diego Fair for ten years.

• Docent and volunteer for the Museum of Photographic Arts for over twenty years •Member and former education director of ASMPSD •Successful Grant Writing to facilitate collegiate lectures by Cay Lang, Don Bartletti, Tom Millea, John Sexton and Matt Black

•Conducted Docent training for California Center for the Arts; Ansel Adams and California.

•Volunteers as juror for multiple community photo competitions, including the Anza Borrego Desert Photo Contest, Best Shot-City of Vista, and the International Photography Competition at the San Diego County Fair

•Lectures widely in San Diego including: a 2012 summer weekend workshop program for The Museum of Photographic Arts on “Creativity in the Photographic Process”; 2014 a lecture for the City of Vista on “Creativity and Competition”

Gary Beeber says of his work, "Growing up, I loved the paintings of Edward Hopper and the photographs of Diane Arbus, Walker Evans and Eugene Atget.

I started out as a painter. I painted little photo-realistic watercolors based on my photographs, but eventually stopped painting altogether and concentrated on photography. For many years I photographed architectural details and landscapes. Later on, after producing and directing three documentary films and an off-Broadway burlesque show, I became interested in taking pictures of people. I am fascinated with people who live unconventional lives.
As a photographer, I love immediacy and the thrill of exploration. I am currently working on several projects."

Gary Beeber is an award-winning American photographer/filmmaker who has exhibited in galleries and museums throughout the United States and Europe.

Solo exhibitions include two at Generous Miracles Gallery NYC and an upcoming show (PERSONALITIES, July 6-September 1st, 2017) at The Griffin Museum of Photography, Winchester MA.

Beeber’s work has been included in juried exhibitions throughout the country. Among Fortune 500 companies who collect his work are Pfizer Pharmaceutical, Goldman Sachs and Chase Bank.

Review from THE BOSTON GLOBE
By Mark Feeney, Globe staff, July 12, 2017

“AT THE GRIFFIN, PHOTOGRAPHS THAT PERFORM”

“Personalities” consists of 14 portraits of the performers. The subjects are cheerful and showy. Performers are always alert to the audience, which in this case is Beeber. If they were any more aware of the camera they’d be inside it. White frames and an absence of mattes emphasize the sense of performance.

What’s most interesting about these portraits is how relatively everyday they feel. True, these aren’t people you’re likely to bump into at CVS, or at least not when they’re in costume. But they’re less outcasts than outriders. These images are more about exaggeration than transgression. Social mores are so much less rigid than when Diane Arbus (the inevitable comparison) was taking her pictures. These people live in a post-Arbus world. So do the rest of us.”

Gene Ambeau says of his work, "In emphasizing some of the obscure detail right in front of us, it is my hope that whether we pass under the monument or just down a local side street, we remember to look for the exquisite detail and beauty hidden in plain sight."

Gene Ambeau is an Agile Project Manager and amateur photographer. He says, "My experience with photography is limited to passionate hobby and volunteer photographer for the Rockville High School Marching Rams band. As a parent, I'm honored to play a small part in support of our deeply committed student band and color guard members.

As a full-time Agile Project Manager working in Hartford, Connecticut, I have a deep appreciation for the artistry and craftsmanship employed in some of our architectural landmarks. Hartford was founded in 1635 and as such has accumulated a broad mix of architectural styles over the years.

Contact info: gene.ambeau@gmail.com

FEAR THE CHANGING WORLD by Gene Ambeau(Click on image for larger view)

WHAT WE LEAVE BEHIND by Gene Ambeau(Click on image for larger view)

THEN AND NOW by Harry LongstreetHONORABLE MENTION(Click on image for larger view)

Harry Longstreet says of his work, "No one just takes up space.

The human condition is an entire canvas of thoughts, emotions and reactions to circumstances. In my
photography I try to capture the truth about diverse people and how they live and reflect their respective spaces.

My subjects never know they’ve been photographed. I don’t set-up or pose any shot and never employ anything but available light."

DO YOU HEAR SOMETHING by Harry Longstreet(Click on image for larger view)

TREE OF LIFE by Harry Longstreet(Click on image for larger view)

BUSEY WOODS by Jeff EvansFIRST PLACE(Click on image for larger view)

Jeff Evans says of his work, "I photograph ordinary objects and situations that often go unnoticed because they're ordinary and everyday. Once noticed, however, they defy expectations because there’s something out of the ordinary about them.

The photographs are made in an objective documentary style, but have a sense of humor that undermines their objectivity.

I’m interested in seeing with clarity, in elements of surprise, humor, the slightly surreal, and teasing the viewer about what is real and what is not."

Jeff Evans' job as a rocket scientist wasn’t as exciting as he expected, so he took some photography classes as a creative outlet. Soon he was going to exhibits in galleries and museums and had collected 300 photo books. But he found the best way of learning was taking lots of pictures.